Thursday, June 28, 2007

MANEIGE is probably the Quebec band that epitomizes best the Quebec Prog boom from 74 to 79. Their music are probably one of the best example of what Fusion music can be by blending in classical and folk elements together with jazz tones the whole thing having a very progressive rock ideal and could also fit the chamber rock style. Their style can only be really compared to other Quebecois group as SLOCHE and OPUS-5. Taken from ProgArchives

Wednesday, June 27, 2007

Basically, the masterpiece here is the 17-minute suite entitled "Histoire Sans Parole". The epic starts off with one of the most beautiful flute, mellotron, acoustic guitar themes ever recorded, followed by countless beautiful themes for the remaining 15-minutes. The other songs on the album don't really match the quality of the epic, but they are nothing to complain about. I really like "Dixie", a fun song drenched with early American-jazz influences. The one thing that most listeners will catch is that HARMONIUM didn't have a drummer, yet the lack of drums doesn't take away too much from the music due to the increased interaction between flutes, saxes, acoustic guitars, piano, and mellotron. I would say that HARMONIUM were inspired by early GENESIS, and the calmer moments from early KING CRIMSON. Overall, what a perfect album to start your French Canadian prog collection with! Steve Hegede Prog Archives

Tuesday, June 26, 2007

Along with Ton Steine Scherben, Lokomotive Kreuzberg were the most important political rock band to emerge from Berlin. Five left-wing ex-students formed the band at the beginning of 1972. Powalla was replaced by Manfred Praeker in the Spring of 1973. Uwe Mullrich replaced Volker Hiemann for six months, then he moved on to Munich and Embryo being replaced by Bernhard Potschka in Lokomotive Kreuzberg in the Summer of 1974. Like Floh De Cologne, Lokomotive Kreuzberg had theatrical live shows, where the music only served as a texture and background for their 'cabaret performances'. Kollege Klatt (1972), and all subsequent albums, contained a full variety of musical styles. The liner notes for the album were written by none other than Floh De Cologne! In addition to their four albums, two singles were issued on Plane: "Chile '73" coupled with "Hey Mr. America" (1974) and "Arbeitslos" coupled with "Teddy Tex" (1976). Fette Jahre (1975) is usually considered to he their best achievement musically. From Cosmic Dreams At Play

Monday, June 25, 2007

A band from Tuscany, formed in the mid-70's in Siena, they released a self produced nine-track tape, Antichi confini, in 1976, and being part of the international Gen christian movement they were invited to play in various european Genfest festivals.

Their first and only album in 1979 was on the religious Città Nuova label that had also produced bands with similar names like Gen Verde and Gen Rosso.
Dentro l'invisibile had a limited distribution mainly in bookshops, and is rare to find now, though not a particularly interesting album for prog fans.
Acoustic, soft atmospheres are prevalent with good use of flute, sax, keyboards, like in the opening Ouverture, but the tracks have limited instrumental interludes and are mainly built on the vocal parts.
The album marked the end of the band, that split around 1980.

The group has recently reunited in 2000 with all the original members, playing in Florence, and managed to release a live CD recorded in 1976-78.
A well recorded CD with eight-tracks (though none of the album tracks are included here), this is a good document of the live activity of the band, with two tracks over 10 minutes.
The cover doesn't mention any recording details, but the tracks included surely come from different concerts with different lineups, and the musicians involved include the six members that were on the LP along with percussionist Marco Scala and drummer Marco Masotti.

A year after releasing the classic album “La Marche Des Hommes”, Canada’s MORSE CODE released another masterful concept album titled “Procreation”. Following very closely their patented formula of progressive rock, this album will simply make all prog fans drool. Imagine a blend of HACKETT’esque guitar swoops with lots of beautiful mellotron/organ, creative bass and drum interplay and highly imaginative song writing and you have "Procreation". MORSE CODE is really a perfect marriage of classic ANGE with GENESIS ! Vocals are sung in French and really remind me of the theatrical presence of Christian Decamps (ANGE's vocalist). This album showcases the epic 26+ minute epic title piece which blends a highly British 70's prog character with their unique Québécois flavour. Overall another killer album that everyone needs to have in their collection... absolutely essential album! loserboy

Still another band from Naples, and also connected to Osanna, formed by Lino Vairetti and Massimo Guarino when that band split in 1974. But Città Frontale were in fact two different bands, the first one being active in 1970 before Osanna were formed with four of that later band members and Gianni Leone, that left to join Balletto di Bronzo.

The new Città Frontale retained some of the main elements that strongly characterized Osanna's sound, like the strong use of sax and flute and the mix of prog and mediterranean folk sounds, but with a more melodic and somehow commercial approach. Compared to Osanna's albums, El Tor sounds much more lightweight.

Having a nice cover design by drummer Massimo Guarino (he also produced the nice cover painting on Osanna fourth album) the LP starts with the long Alba di una città /Solo uniti, that could easily find its place in Osanna's Landscape of life, but the rest is not particularly original, with even some Zappa or jazz-rock influences. All in all a positive album, but Osanna were a different thing. ItalianProg

Friday, June 22, 2007

Thursday, June 21, 2007

Based around Barrie McAskill this was a continuation of The Clefs. The first three line-ups went to Sydney and had a residency at the Whiskey A Go-Go for eighteen months. The next one was formed in Sydney in 1968 after most members of the earlier line-up had left to form Tully and play in 'Hair' the musical. The next line-up toured frequently and recorded "Empty Monkey". The album captured the band moving towards progressivism on the title cut, the single "Lisa" and an 11½ minute rendition of Lennon-McCartney's "We Can Work It Out". Their soul and R'n'B influences were apparent still on covers of The Hunter and Junior Walker's "Shotgun". This line-up also backed Doug Ashdown on his double album "Age Of Mouse", but Jurd, Blisset, Howe and Buettell left then to form Fraternity. In late 1969/early 1970 the band returned to their residency at the Whisky A Go-Go. Later they moved on to a new residency at Chequers in Sydney. By 1971, they were playing Blood Sweat & Tears and Chicago material six nights a week at Chequers.

The line-up in 1972 was also known as McAskill's Bear Brigade. Later that year they moved to Melbourne with a new line-up. Most of the later line-up became Mighty Mouse. The 1973 line-up was based in Sydney, but in 1974 they returned to Melbourne.

You can also check out "Lisa" and "Road Runner" on "Festival 70". "Gonna Get A Seizure" has also resurfaced on "So You Want To Be A Rock 'n' Roll Star" (3-CD), as has a version of "Take A Little Piece Of My Heart" credited to Linda Cable and Levi Smith's Clefs.

Taken from "Dreams, Fantasies and Nightmares" by Vernon Joynson, an extensive guide to Canadian / Australian / New Zealand and Latin American psych and garage music 1963 - 1976. Alex Gitlin

Super rare privately pressed garage album by this band from Illinois. Released in 1966 it's a strong selection of high energy rock and roll psychedelic garage with cover versions of "Gloria", "Route '66", "I Need You" and other similar numbers all performed with a powerful intensity. Classic US '60's sounds. Freak Emporium

Drawing on wild and woolly influences as diverse as Capt.Beefheart, Them and the Animals, these San Joaquin Valley boys helmed by Steven Krikorian,later to reinvent himself as hitmaking Tonio K cut an albums worth of material best described as jawdropping!Tracks such as "Sewer Rat Love Chant" and "Why Did You Rob Us","and "Tank" have been gathering dust since..God know's when!Now this brilliant unearthed 60's album has got it's first release and contains the band's quirky garage recordings,circa 66. Freak Emporium

Wednesday, June 20, 2007

For sure, the rarest Lp from Belgium (only 300 were pressed).. Great creeping blues rock with long tracks,guitar and weired vocals by Arno(not unlike Captain Beefheart) .. This Lp is highly recommanded if you can like a mixture between Savoy Brown and Creepy John Thomas.. It comes in a cover with tiny reproduction of a painting by belgian surrealist painter Elias.. Highly collectable item overhere for both Arno diehards and blues rock purists.. (no real damages on cover but normal wear of oldness like some ringwear and cracles LP plays stll great but here and there some light noise and also between the tracks but if you find a mint you will hear some noise this was not the best press that time.

OPUS 5 were a 5 Piece ensemble from Quebec Canada who released IMHO one of Canada’s finest pieces of 70’s prog rock with “Contre-Courant” in 1976. Line up included Olivier Duplessis (claviers, vocals) , Luc Gauthier (guitars, vocals), Serge Nolet (flute vocals), Christian Leon Racine (bass, vocals) and Jean-Pierre Racicot (percussion, vocals). OPUS 5 were essentially a mix of lighter fusion / jazz prog with folk leanings at times and somewhat reminiscent of the Canterbury school of prog (i.e. HATFIELD & THE NORTH, EGG…). Instrumentally these guys blend tempo challenging aspects with acoustic and synthesizer runs offering the listener quite a fine variety of rhythm and tones. “Contre-Courant” is a very expressive album with all 5 members adding vocalization throughout and is delivered with great emotion. Sometimes albums just seem to have everything and fulfills your mind, ears and spirit and that is the case with this album for me. Absolutely 100% essential. By loserboy PROG ARCHIVES

Hailing from Newburgh in New York State with one of Mainstream's better albums came the Jelly Bean Bandits. More punk than psychedelic it includes some searing guitar and good effects. The album contains the classic Generation, which was arguably their finest moment with a bizarre intro about flying saucers giving way to a driving assault on the senses with searing guitar, powerful vocals and sound effects.

Originaly known as The Mirror, they managed to score a three-album deal with Mainstream on the basis of three demo tracks. Unbeknown to label boss Bob Shad, these were the only songs the band had written and a week-long marathon song-writing session ensued, before they were whisked into the cavernous Columbia Studio "A" to record the album in a generous twelve hours stretch.

Mainstream pulled the plug before the band could start on their second album, although a demo for one track, Salesman was recorded, and the other material written back in '68 may yet see the light... the band are still in touch and have released a second album in the same style & manner as they had intended to do thirty years ago... "look to the skies... the flying saucers will always be there!"

For more information check the bands website:- http://www.jellybeanbandits.com

Great late '70s early '80s UK space rock band has that classic free festival vibe. body combined Floyd like guitars and tight vocal harmonies with a Hillage/ Hawkwind/ Here and Now vibe and produced some excellent songs on this their only album (which is very rare on vinyl).Freak Emporium

Formed as soon as 68 under the name psychotic reaction, this band evolved in two different era, the group changed their name to Missus Beastly (from the Negro doll Mistress Beastly) but was among the first of the jazz-rock progressive group in Germany, but folded after just one album recorded (soon bootlegged with a totally different artwork) in early 70 with a nascent groundbreaking jazz-rock. It must be said that the happy-go-lucky feeling of that era had the group evolve from the standard prog quartet to a sextet and even a heptet within months, obviously not too worried about financial matters, which soon brought the band to an end. The group even managed to have their names stolen from them and an usurping group managed to release a few albums under this name.

Nothing was then heard from the original group until the mid-70’s, when some ex-members united with former Missing Link keyboardist Miekausch went on to reform the group, although sonically if still jazz-rock, they were nothing like their previous incarnation, being much with the times and sensibly more fusion-esque. The group went on to record three albums with countless line-up changes, but never managed to reach the end of the decade.

Missus Beastly’s legacy is a bunch of jazz-rock albums that will make Germany one of the prime producer of this type of music, ranging from Kraan, Thirsty Moon, Passport, Release Music Orchestra, Out Of Focus, Missing Link, Embryo and Brainstorm… just to mention those. PROG ARCHIVES

Monday, June 18, 2007

Although chiefly remembered these days for their role as John Lennon's loose and ragged backup band on his Some Time in New York City album from 1972, Elephant's Memory have a bit more to their history than that. Formed in 1967 by drummer Rick Frank and saxophonist and clarinetist Stan Bronstein, who reportedly met on the New York City strip-joint circuit, the group specialized in an eclectic Frank Zappa-like mix of psychedelia, jazz, and acid-tinged rock, and delivered a truly bizarre stage show complete with inflatable stage sets. Their first album, simply called Elephant's Memory, was released in 1969 on Buddah Records, a label more famous for bubblegum pop groups than whacked-out horn bands.

Two tracks from the LP, "Jungle Gym at the Zoo" and "Old Man Willow," found their way onto the Midnight Cowboy movie soundtrack later that year, which gave the group some visibility, but it didn't exactly translate into sales for the debut album. A second LP, 1970's Take It to the Streets, had even less commercial impact. Then came John Lennon and Some Time in New York City, and Elephant's Memory had their moment in the sun. They released a third album, also called Elephant's Memory and featuring David Peel, on Apple Records later that year, then backed up Yoko Ono on 1973's Approximately Infinite Universe. Angels Forever, which turned out to be the group's swan song, appeared in 1974.

Elephant's Memory left behind what is probably best described as a footnote legacy, since they will undoubtedly always be linked chiefly to Lennon and Ono. An impressive number of musicians passed through the band in its seven-year run, including Frank and Bornstein, as well as Carly Simon (yes, that Carly Simon, who was a member of the group for about six months), Jon Sachs, Gary VanScyoc, Michal Shapiro, Chris Robinson, Martha Velez, John Ward, Chester Ayres, Myron Yules, Richard Sussman, Wayne "Tex" Gabriel, Daria Price, and John Labosca. Footnote they may be, but Elephant's Memory made more of an impact than anyone ever might have suspected from a scuffling New York City street band. ~ Steve Leggett, All Music Guide

One of the earliest (if not the earliest) progressive rock album of Scandinavia and certainly of Denmark (along with Culpepper’s Orchard), BRI’s debut album is also notable for being a double one (fighting with Norway’s Junipher Greene for that title) and is filled with very diverse influences. Resolutely rock in spirit, the album oscillates between the blues, soul, jazz (or more likely jazz-rock) and many more folkloric styles, without actually being folky.

Armed with their double-wind section attack (the group is actually an septet – two different bassist used - if I judge by the album credits), the group’s evident forays would of course head towards jazz, and therefore jazz-rock, but a strange mix of Chicago Transit Authority and Colosseum. To say that such an obscure rtecord received the best of production in lonely Copenhagen would be the over-statement of the year, but the album has not really azged badly either.

One of the strange things about this album is that although there are some twenty tracks, none of them obviously jump out as highlights (well maybe - just maybe - Purple Heart and its follow-up Larsens), and likewise none are weaker than just average. But it does appear that the second disc is slightly better than the first, but I am not sure where which stops and which starts for I review the CD version..

Just barely noticeable is Claesson’s violin in Kaj, Menzer’s flute in the following Tingel- tangelmanten (whatever…;-), but we do notice the mouth harp (over-mixed) in Laeg Dig. The blues are an indispensable part of their repertoire and therefore maybe creating a slight sense of disinterest for part of the album, but be careful not paying attention; you could be missing out something the second you start drifting. And you might just bne missiong the impressive Killjoy finale.

Karsten Vogel (a jazz scene hanger-on since 61) would then go on as the leader of Secret Oyster, which is aptly, named since this group still remains one of the best-kept secrets of Denmark, and safely tucked away in an oyster. Back to this debut album, although hardly essential, if you are into Colosseum, this (BRI’s early albums) could be a must for you. Having borrowed it for the last month from a friend for reviewing purposes, I still contemplate whether acquiring it or not. And believe me, this is tough choice for there are superb moments in it, especially given its age and its background. Written by Sean Trane.

The fourth album from 1973 by Denmark's contercultural heroes. Living the communal lifestyle of free living and stoned communion, alrune rod made some great psychedelic rock and this album whilst more accessible than the bands earlier recordings still has the edge featuring ringing West Coast styled electric guitar breaks over country influenced acoustic rock numbers. A good album. Buy CD at Karma

This album from 1974 sees the communal Alrune Rod stripped down to a more commercial four piece band, but still featuring the countryish psychedelic West Coast guitar sound of the earlier albums set against a more melodic song based backing. An album that is very much more in a good time rock and roll vein, with some nice melodic jazzy pop touches.Freak Emporium

Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later.

HOOKFOOT, created by Southampton based musicians vocalist Ian Duck, bassist Dave Glover and drummer Roger Pope, was virtually the side act to their day jobs as session musicians for ELTON JOHN. The band started life as an R&B band THE SOUL AGENTS in 1965. A name change to THE FINAL ONE then led to HOOKFOOT. The debut album, which found the band ploughing a similar Country Rock furrow to COCHISE and covering songs by NEIL YOUNG, saw the addition of vocalist Peter Ross.

HOOKFOOT turned up en masse to supply the session music for solo artist JOHN KONGAS debut of the same year on Elektra Records as Quaye, Pope and Glover provided the backing.

The follow up album had HOOKFOOT joined by second guitarist American Bob Kulick. A period of flux followed as Kulick quit (later finding notoriety with session work for KISS and his stints with BLACKJACK, BALANCE, MEAT LOAF and SKULL). To keep things on the move after Glover departed COCHISE guitarist MICK GRABHAM subbed on bass. Third album 'Communication' had the band up to full strength with bassist Fred Gandy.

Reissue of 1974 album by UK pub/country rock band featuring Caleb Quaye (father of Finlay, ), one of the UK's most in demand session guitarists of the 70s (and an original member of the Elton John band). Freak Emporium

Sunday, June 17, 2007

Originally released in 1968, this is the definitive album from Mr Frog, a.k.a. MickWeaver, described as 'Bolton's answer to BOOKER T.' Jazz-rock organ sounds from the late 60s by this UK band, now much beloved of zoot-suited Mods everywhere. Freak Emporium

Mick Weaver - a.k.a. Wynder K. Frog: Keyboardist, appearing on lots of albums by fringe-of-the-blues-musicians of this period: Miller Anderson, The Grease Band, Juicy Lucy, The Butts Band, Keef Hartley, Eric Burdon... Also appeared in constellation of Mason, Wood, Capaldi & Frog, i.e. Dave Mason, Chris Wood and Jim Capaldi, all ex-Traffic. The instrumental Wynder K. Frog albums were recorded in the solid company of Dick Heckstall-Smith, Neil Hubbard, Chris Mercer, Alan Spenner...
"Music just cannot swing and groove any more than this. It is pure, vintage soul/jazz, in particular the Bobby Timmons tune, "This Here". Wynder himself leads the band on organ, and the LP includes some hot versions (of) "Jumping Jack Flash", "Green Door", and "The House That Jack Built".

Above-average local beat-garage LP by Pittsburgh maniacs who later transformed into the Swamp Rats. Two killer tracks (also out on 45) have been comp'd on Hipsville vol 1 but there's some other good stuff too, though more beat than garage. Some tracks have a lo-fi dawn of man feel, such as "Apache". They had several 45s as well. The old boot reissue has some sleeve wear from the copy that was used. [PL] Acid Archives

Jazz-rock organ sounds from the late 60s by this UK band who were possibly the most enduring club-organ r'n'b band to come from the swinging 60's mod scene.This(mostly) instrumental powerhouse outfit delivered this their 2nd album from 1969 of original material 'Composed specifically for the Frog style of musical interpretation, ranging far in beat, tempo and mood'. Contains the brilliant "Eddie's Tune" that could have graced the Rubble series.Freak Emporium

CD re-issue of the hopelessly rare 'Sunshine Superfrog' originally only available as the Island label 12-track LP.12 top quality mod soul Hammond tracks and the LP never really lets up for a minute. A choice mixture of covers such as "Somebody Help Me","Sunshine Superman", "Hold On, I�m Coming" and "(Don�t Fight it) Feel It" and more the classic " original �"I Feel So Bad". Now here it is with one bonus track "I'm A Man".Freak Emporium

The embryo of the group was formed as early as Autumn -61 under the name of Red River Band, a trio with accordion, trumpet and drums...(sic). Then it became Lee Riders and in August -63 the name finally became Lea Riders Group.
Hawkey founded the group and besides of him 12 other members have come and gone - Lars Prim(trp), Olof Svensson(drm), Lars "Yancey" Nilsson(in beginning pi,then elec.bass,vocal), Åke "Buddy" Johansson(guitar, vocal), Alf Sandher(drm), Åke "Ake" Engström(drm, vocal), Tommy "Slim" Borgudd(drm,vocal), Sigge Ehlin(guitar,harmonica,
vocal), Leif Alverstam(e-bass) and Bosse Häggström (elec.bass). Last week on the Golden Circle in Stockholm Georg Jojje Wadenius replaced Sigge Ehlin on guitar.(for a couple of short periodes Bonnie Zetterberg on elec.bass)

The group was founded in the small town of Borgholm on the little island Öland and conquered the whole country and was even mentioned abroad as a "raw, tough and genuin blues- and r&b-group...". Influences came from, among others, Willie Dixon, John Lee Hooker, Muddy Waters, Alexis Corner and of course also Rolling Stones and Beatles.

Lea Riders Group started to play during danceparties in school, the "Middle school" in Borgholm, and then it became small "dance-halls" in all parts of the island, further on mainland and Kalmar town, counties Småland, Blekinge, Västergötland where the group became "big and famous" in the towns Skövde, Skara and Karlsborg.
Went on to county Östergötland and in March -66 the group reached the capital Stockholm for the first time and played in clubs like Bobbadilla in the Old Town. In a very short time the group became "the in and hot band" in places like the University of Commerce, University Corps and the ´worldknown´ jazz&blues-club the Golden Circle. At the Golden Circle LRG became sort of houseband together with, among othters, Hansson & Carlsson. Other clubs were of course HitHouse, Pråmen(the Scow by the City Hall) and the famous Nalen.
At Golden Circle the filmmakers Jan Lindkvist and Stefan Jarl shooted the first live-appearance on TV with LRG for the youghtprogram "Stänk"(Sprinkle) produced by Mona Sjöström in Autumn -66.

First single was recorded in the new studio in Philip´s House. The "studio" was situated on the stage with a small compartment as controlroom with 4-channel recorder and Gert Palmcrantz and Bampe Carlsson as technicians. In that studio also the four coming singles were recorded, the last one in connection with the movie "Dom Kallar Oss Mods"/They Call Us Misfits in Spring -68. Hawkey and the group made the music for the film.(filmmusic was recorded at EuropaFilm)

In May 1968 Lea Riders Group performed the last week as group at the Golden Circle but then one of the mem- bers - Sigge Ehlin - already had left and got back to Öland. So, Georg "Jojje" Wadenius replaced Sigge on guitar. The group just had to get the very modest salary but it was, according to Hawkey, rather futile´jamsession -nights´ and as a natural consequence the band splitted and Tommy Slim Borgudd, Bosse Häggström and Jojje Wadenius became the new group Made In Sweden.

Lea Riders Group appeared live in the radioshow "Tonårskväll"/TeenageEvening some times and thanks to Hawkey, who saved tapecopies from these occasions, the small recordcompany GarageLand Records in Umeå, was able to release a LP with some live material and 8 titles from the singles in 1989. In May 1998 the same company released a CD - Lea Riders Group/The Forgotten Generation - with same material as the LP plus 4 bonus liverecordings. (certain is that one more release will appear with material never heard on record - recordings from before the singles - during 2007. ...process in progress...) Home page

Here, at Ezhevika Fields, I'm providing information & listening preview samples of lost albums from the past. My only aim is to promote real art & music for some reasons currently unavailable according to my sources. If you are the artist or label & would like the link to be removed just contact me & it will be done.

I'd like to thank all original uploaders; collectors sharing music giving us the unique possibility to explore the culture. Thank you!